Lisetta, La Gazzetta, Pacific Opera Project

"Rachel Policar was a spectacular Lisetta"

                  -Mark Swed, Los Angeles Times

"Rachel Policar was an amazing Lisetta who sang the most difficult coloratura with voluminous sound while dancing and cavorting, even doing quasi-splits and lifts with chorus members. She is a natural comedienne with excellent timing that Los Angeles Opera fans can hope to see again."

                 -Mary Nockin, Broadway World

"Rachel Policar scored a considerable success as the complicated, conflicted daughter-for-sale, Lisetta. Ms. Policar cuts a petite, slender figure on the stage, {with} her silvery soprano...But don’t underestimate her power to communicate spitfire moments, as she zings out roulades and acuti with effortless aplomb. In her main aria, she manages not only a bravura display of florid singing, but does it all while being toted and hoisted around by four chorus boys, at one point being held aloft in a full-flying split. Do not try this at home!"

                  -James Sohre, Opera Today

"The most arresting performer was Rachel Policar (Lisetta) who...could sail through the most challenging coloratura lines, even when being lifted on high in contorted positions by the male choristers"

                 -Richard S Ginell, San Francisco Classical Voice

"...Stellar...Ms. Policar deliver[ed] one number while being swung around and lofted shoulder-high by the small, stalwart group of chorister/dancers...all with a daring and energy that would have done credit to Beyoncé and her team"

                 -David J Brown, LA Opus

"Policar convinces as a spoiled rich girl and handles Rossini’s stratospheric vocal challenges with ease."

               -Michael Van Duzer, Showmag

"Rachel Policar, who is called on to do some death-defying coloratura work as Lisetta, is a lovely crowd pleaser"

                 -Loren Lester, Schmopera

Marietta, Naughty Marietta, Light Opera of New York

"On the other hand, Rachel Policar (fondly remembered in the name part of the National Yiddish Theatre Folksbiene’s The Golden Bride in 2015), was finely matched with her titular role, the Italian countess in disguise as a poor casquette girl. Strong voiced and fluent, she nailed her part from her opening number teasingly describing the “good” and “naughty” sides of her personality, and delivered the famous “Italian Street Song” with all the requisite flair and vocal acrobatics"

                  -Harry Forbes, Forbes on Film and Footlights

Gilda, Rigoletto, Anchorage Opera

"...As Rigoletto's daughter Gilda...Policar's top notes were especially notable" 

                    -Anchorage Daily News, Mike Dunham

National Yiddish Theatre Folksbiene Gala, Honoring Liev Schrieber

"...young performers with dazzling voices, Rachel Policar"

                    -BroadwayWorld, Stephen Sorokoff

Lauretta, Gianni Schicchi, ARE Opera

 "Lauretta, beautifully sung by Rachel Policar who gave us a lovely "O mio babbino caro""
                    -Voce di Meche, Meche Kroop

The Golden Bride (Di Goldene Kale) - National Yiddish Theatre Folksbiene

“Policar's rendition of Goldele is outstanding. Her crystal clear voice, well balanced register, and solid technique pull our attention to her every time she's on stage—which is, luckily, quite often.”

                            -The Easy, Mateus Ciucci Ferreira

“I, for one, was rooting for Misha and Goldele as a couple from the first time they sang together, in the love song “My Goldele,” if only so we’d get to hear their voices together again…Ms. Policar and Mr. Johnson supply the show’s greatest vocal richness…When Goldele sings a lullaby she remembers from earliest childhood, Ms. Policar colors it with intensity and pain.”

                            -The New York Times, Laura Collins-Hughes

“Goldele, played by the opera-trained Rachel Policar, is a standout”

                            -Jewish Telegraphic Agency, Curt Schleier

 “Delightful as Goldele is -- especially as played by the lovely, silver-voiced Rachel Policar…Policar is a warm and winsome personality, her voice caressing such numbers as "My Godele,"

                             -Lighting and Sound America, David Barbour

“Goldele, played by Rachel Policar (and where has her stunning silvery voice been all my life?)”

                             -BlogCritics, Jon Sobel

“Policar and Johnson, playing the central couple, are equally adept with regard to the show’s airier moments, and they also sound superb. Her delicate soprano and his commanding tenor serve Rushinsky’s lush melodies beautifully, and when their voices combine the effect is sublime.”

                             -American Theatre Web

“The cast could scarcely be bettered vocally or dramatically. Policar and Johnson have really gorgeous voices, the former more than up to the virtuosity her role demands”

                             -Operetta Research Center, Harry Forbes

“The actors…are excellent, led by Policar, who has major operatic chops, her voice echoing beautifully throughout the theater” 

                              -This week in New York, Mark Rifkin

“…when Rachel Policar shows up as Goldele … [her]singing and acting make this period piece touching and memorable.”

-Downtown Post NYC, Terese Loeb Kreuzer

“Equally enthralling were the glorious operatically trained voices of Rachel Policar as Goldele and Paul Muni-lookalike Cameron Johnson as Misha, who despite their unfamiliarity with Yiddish, in three weeks spoke and sung the language as if they’d grown up in Berdychiv”

                             -Theatre Pizzazz, Myra Chanin

 “The show boasts some outstanding vocalists, its stars Ms. Policar, and Cameron Johnson…spring to mind.”

                            -Stage and Cinema, Dmitry Zvonkov